Hal Jordan, the greatest Green Lantern in the history of the Corps, has lost everything. Friends have died, Oa has been destroyed, and now he must say goodbye to Earth! As war threatens to dismantle the Green Lantern Corps, Hal does the unthinkable: He asks for help. Can he and a handpicked team of Lanterns remove a deadly weapon from the enemy's arsenal, or will they be dealt their first defeat? Collects GREEN LANTERN #27-34 and GREEN LANTERN CORPS #31-33!

Fear has a color. It’s the gruesome glow of yellow, wielded by the totalitarian tyrant Sinestro and his Yellow Lanterns. And now the entire universe is bathed in its sinister light. The Sinestro Corps have replaced the Green Lanterns as the peacekeepers of the galaxy. Oa, the homeworld of the Guardians and their Green Lantern Corps, is no more. In its place at the center of the universe orbits Warworld, Sinestro’s home base. The Green Lanterns have vanished, leaving no one to oppose the Sinestro Corps’ reign of terror. No one, that is, except the last Lantern: Hal Jordan. Convicted of crimes he didn’t commit, reduced to a being of pure thought and will, Hal must now battle back from the brink to reform the Corps and free all of creation from his archenemy’s iron fist. Sinestro’s word is law…but Hal Jordan is the lawbreaker! Collects issues #1-7 and the HAL JORDAN AND THE GREEN LANTERN CORPS: REBIRTH one-shot special.

Assigned to map and contact new lifeforms past the 3,600 known sectors of space protected by the Green Lantern Corps, John Stewart and an elite team of Lanterns are trapped behind enemy lines and fighting for their lives when the Central Power Battery goes dark and leaves the entire corps defenseless. Meanwhile, across the cosmos, Green Lantern Jessica Cruz finds herself powerless and forced to battle the invading Yellow Lanterns of the Sinestro Corps, and Guy Gardner, trapped on distant world, decides to reopen Warriors Bar.

STARRING HEROES FROM ZERO HOUR! A powerless Kyle Rayner visits a Metropolis prison to see a devastated Hal Jordan who believes he has murdered the Green Lantern Corps. But if the dome falls and powers are restored, will Parallax return to defend the city or destroy it?

Over 400 pages of incredible art from one of the industry’s hottest illustrators! In more than 15 years of working for DC Comics, Brazilian artist Ivan Reis has illustrated nearly every part of the DC Universe, from classic superhero titles like GREEN LANTERN and JUSTICE LEAGUE to the bizarre worlds of Grant Morrison’s INVISIBLES and MULTIVERSITY. Reis’s heroic style and dynamic storytelling skills have made him one of the most adored and sought-after artists working today. And after such high profile projects as BLACKEST NIGHT, THRONE OF ATLANTIS and TRINITY WAR, Reis has cemented his place as an iconic part of the DC Universe. GRAPHIC INK: THE DC COMICS ART OF IVAN REIS collects comics and cover art from throughout the career of this fantastic artist-including many pieces that have never before been reprinted!

Finding the superhero genre in need of further investigation from philosophical standpoints that value excess as a creative drive, rather than denigrate it as a problem to be resolved, this book opens up discussions that highlight different approaches to ‘the creative excess of being’ as expressed through the genre. While superheroes are an everyday, culturally dominant phenomena, philosophical methods and investigations have a reputation for lofty superiority. Across 13 chapters, this book facilitates a collision between the superhero genre and the discipline of philosophy, resulting in a voyage of exploration where each illuminates the other. The contributions in this book range from new voices to recognized scholars, offering superhero studies a set of critical interventions that are unusual, conceptually diverse, theoretically grounded and varied in practice. These chapters consider ‘excessive’ traits of superheroes against schools of thought that have attempted to conceptualize and understand excess by analysing texts and figures across a variety of mediums, such as The Fantastic Four, Captain America, The Vision, Logan, Black Panther and Super Hero Girls. With its unique approach to the superhero genre, this book will be an invaluable read for students and scholars working on comic studies, transmedia studies, cultural studies, popular culture and superhero studies.

Saturated in patriotic colors, Superman and Wonder Woman are about as American as baseball and apple pie. Superman, created in 1938, materialized as the brawny answer to the Great Depression, and when Wonder Woman arrived three years later, she supported her adopted country by fighting alongside Allied troops in World War II. As the proverbial mother and father of the superhero genre, these icons appeared to a society in crisis as unwavering beacons of national morality, a quality that lent them success on the battlefield—and on the newsstand. As new crises arise our comic-book champions continue to be called into action. They adapt and evolve but remain the same potent, if flawed, symbols of the American way. The artists in Men of Steel, Women of Wonder, an exhibition organized by Crystal Bridges Museum of American Art, wrestle with Wonder Woman’s standing as a feminist icon, position Superman as a Soviet-era weapon, and question the immigration status of both characters. Featuring more than seventy artworks that range from loving endorsements to brutal critiques of American culture, this exhibition catalog reveals the enduring presence of these characters and the diverse ways artists employ them.